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Made it to 57.

Nowadays? Everything.

How have I only just seen this! I wonder if I can get 50 reviews out before midnight tonight EDIT 1: So 6 hours later and I'm at 34 (I think, everything has gone blurry...) They may be the most detailed or concise (or cohesive or in English or...) but I've tried to make each one at least 3 or 4 sentences long with some positives and some negatives. I'm going to try for the remaining 16 before midnight (children, family and New Years Eve parties permitting). Wish me luck! EDIT 2: OK so the allure of free food and alcohol got the better of me so I didn't manage to get to 50. Still; doing review has been quite enjoyable so I'm going to carry on regardless. Happy 2016 everybody!

There are a lot of new remixers putting out some incredible work, and you really should spend some time going through everything. However, it sounds like your tastes run pretty similar to mine, at least in part, so here's a short list of some of the artists whose remixes are still in my list of music I've downloaded but not transferred to my permanent collection: Sir_NutS Tetrimino Geoffrey Taucer DDDRKirby(ISQ) Jorito Metal Man Hylian Lemon Sam Dillard Chimpazilla Showroom Dummy Chris ~ Amaterasu Claire Yaxley Nutritious Phonetic Hero timaeus222 Gario Again, that's really reductionist, and you really shouldn't limit yourself to just a few choices like that. (Oh, but if you like Game Over, make sure to check out The Megas if you haven't yet.) Put on OCR Radio and let it take you to new places.

As someone who wrote music using only midi and low-quality sounds for several years, and then used EWQLSO Silver, (which lacks many sounds more expensive versions have,) I can attest that this is true.

Oh neat, I almost missed this entirely. Sure, I'm in - there are some pretty sweet tracks I would love to remix, and I've been looking for an excuse to use my new headphones to make some music. I'll list my picks later today. 1. Dracula X - Stage 6 https://www.youtube.com/watch?v=44u87NnaV4Q (Yeah, it's an arrangement of CV3 Stage 1, but I always like this version better...) 2. Dracula X - Stage 7 https://www.youtube.com/watch?v=PGYEm_1MoOA 3. Symphony of the Night - The Tragic Prince https://www.youtube.com/watch?v=wuSa2k5UEXs 4. Bloodlines - Stage 2 https://www.youtube.com/watch?v=yKJsfwHObvw 5. Bloodlines - Stage 6 https://www.youtube.com/watch?v=9BVFbBXuYtI Also, not a pick of mine, but I found it while searching and thought it was pretty cool. https://www.youtube.com/watch?v=v_YIGdpVAAY Alright, let's do this. Nice to see an elimination compo come up in here - while it's sad to see good artists fall after a single round, it DOES significantly reduce remixing fatigue that occurs on the longer sort of compos. One of the big reasons I'm up for it, in fact.

Seriously, you guys are stuck on a one off joke...

I got this in my IndieBox and haven't played it yet but you shouldn't go around saying that it is better than Undertale. That's just destined to backfire in some way. Most of you are saying that it's subjective as to which game's better, but Undertale is in a whole different league. I'm really sorry to say this because Freedom Planet looks awesome but Undertale is a phenomenon while Freedom Planet might just be a good game. The things Undertale has spawned and the status to which it arose are way beyond what any other indie game in the last few years could ever hope to accomplish (except for Minecraft of course). It just went to something that is so much more than just a game and thus I don't think it should be compared to anything really.

Freedom Planet is a damn good game. I've never played Undertale, but it looks like a completely different game. Freedom Planet is an old-school Sega-style throwback platformer, and Undertale appears to be a twisted 8-bit-style RPG. Both games have modern twists to them, but I can see why there is no need for comparison between the two. Even comparing Freedom Planet to something like Shovel Knight or Shantae makes no sense as they all play very differently from one another. But they are all worth playing for old-school game fans. And now, thanks to this thread, I may have to give Undertale a try because it looks awesome.

Hello! I just joined today but I've been indulging in OCR for a good 6 years or so. I make music for NEC PC-98 machines as a hobby and I also do it professionally for videogames.

Thanks @nitrozsz for your kind reviews of the VV Trilogy, I'm glad you appreciated our hard work

Alright now I really liked Freedom Planet, but: 1) It's entirely subjective which is better, 2) Not everyone is in it for action alone, 3) I personally found Undertale more fun and waaay better story-wise. I can't tell how serious you're being here but you're not doing Freedom Planet any favors here.

Studio One Remote Control - Brings Studio One's mixer to your iPad. Faders, insert effect chains and parameters, sends, macros, macro control mappings, transport control. 100% improvement to how I do things. SoundPrism Electro - Haven't gotten this set up yet, but with a fancy cable mess in place I can use this as a great and fun MIDI Controller for sketching music and playing in alternative input schemes (it's completely diatonic, you can apply accidentals to the tone scheme, and it's spaced in thirds instead of regular scale steps). Other than that, I usually write my own Python scripts for filesystem stuff when working on sample libraries.

Lemur (iOS/Android). Lets you design music-focused touchscreen interfaces using both drag-and-drop and -- for more advanced users -- a fairly robust scripting language. It produces both MIDI and OSC output, and the latency even over WiFi is low enough that you can use it as a MIDI controller for recording. Pair it with Pure Data (Win/Mac/Linux), a Max-style visual programming language that accepts both MIDI and OSC input, for even more fun.

Hey! I'm a 2 year lurker, but I decided to make an account because I'm really ready to start making decent mixes myself. I have a soundcloud, on which I go by the name Snazket, but I will be changing that to my name I use here soon. I mostly have connections to Mario and Zelda games, but I enjoy mixes of all kinds

....what the hell, I can't leave this one without a review after doing the other two. General Overview: Volume III AKA the Super Castlevana IV volume AKA the best pre-Michiru Yamane Castlevania. Point is, Super Castlevania IV's soundtrack was amazing, and this volume did that soundtrack justice. It's a lot darker and it feels more cinematic compared to the other two. The other two volumes had more loud, fast paced, upbeat highlights. But this volume contains a perfect balance of those fast tracks, and tracks that are a lot slower, and more soothing. And of course, Nicolas Cage. Album Strengths (AKA Personal Favs): Track 1-4: Heart of Limestone (Limestone Cavern) by Rexy The original track was already creepy enough, but the original track relied on synth notes to convey a horror feeling. This track relies only on the piano to convey horror, and it does a really good job of doing so. (Couldn't think of anything else to add beyond what I said in my original review) Track 1-7: Whipped into Shape (Rotating Room) by Sbeast The rock elements of this track make this seem like it would be fun. But then you add the synths and the piano, and it becomes a lot darker. And I love that feeling of having fun in a dark environment. Track 1-11: Deadly Furniture (Banquet Hall) by Slimy Intense orchestrated arrangement. Almost Night on Bald Mountain-esq. Only instead of Chernabog sending little demons to cause havoc, Dracula is possessing random pieces of furniture to cause havoc. Track 2-1: Endless Tomes (Library - Collection Space) by Sam Dillard This sounds to me like what would happen if Yasunori Mitsuda worked on a track for a Castlevania game. It's so ominous, with a hint of intensity here and there to make that sense of exploring the unknown that much more wicked. Track 2-4: The Harbinger of Death (Treasure Room) by timaeus222 It's a good exploration track, but when the beat drops, it turns into an aggressive battle theme. The build-ups to the beat drops are what make this track great, and the beat dropping segments themselves are just incredible. Track 2-8: Stairway to Perdition (Beginning) by Audio Sprite This isn't as complex or as intense as many of the other tracks here, but maybe that's why I like it so much. It's very nice, funky, and nice music to relax to or to go out walking with your headphones. Track 2-9: Dracula's Secretaries (The Attendants' Rooms) by Slimy Very nice and cinematic take on one of the last levels in the game. It feels very much like a climax to the Castlevania adventure. Track 2-10: The Night King's Lament (Dracula's Room) by Sam Dillard The best track in the entire Super Castlevania IV soundtrack evolved, and made to present an incredible showdown between Simon and Dracula. If you listen to Dracula's Secretaries and The Night King's Lament back to back, it almost sounds like it could be a medley about Simon on the home stretch towards Dracula, and then finally meeting him in a memorable showdown.

Despite what many people like to idealize, you can't actually do everything with free crappy sounds. It sucks, but it's true. :/ No amount of manual labor short of writing your own DSP algorithms for physical modelling (at that point you should be making money as a VI developer) can get you to realistic, expressive instruments. Working with low quality sounds is all about hiding and avoiding writing passages that expose what's crappy about those low quality sounds, and that's not really actually a good way to learn how to write music. It's a defeatist method of creativity of "how do I sound as not bad as possible" when ideally it should be "how do I sound as good as possible". Let's say you have a trumpet with great sustains, but crappy staccatos. You end up not really writing staccatos in your music because it sounds bad, so it's closing doors for you. As rosy as it is to encourage others to make the best of low quality sounds, if you want real, you have to shell out. You can make low quality sounds sound good, but you can't make them sound real.

I think I reached 25. Pretty good for 2-3 days. I'll definitely return to post more in January. It's good to be back.

I got you all a digital download code for free music, I'm gonna hide it below in white text so that it isn't taken by people not involved with secret santa: www.ocremix.org To everyone else, hope you had a good Christmas

@mattmatrice I've got it, haven't used it for anything yet... it makes micro-edits & FX extremely easy, but my main complaint is that the library is loop-heavy - you DO get a kit version of the individual sounds used in the loop variations, but you can't trigger the micro-edits & FX dynamically - you have to edit the overall pattern. I personally would prefer a solution that lets me build a pattern within my DAW, as opposed to within the tool, so I wish that the micro-edits & FX could be queued up dynamically. If you're interested in glitching/drums, I'd personally recommend a combination of something like Battery 4 - which has a huge library of usable kits - with a dedicated glitch plugin like dBlue or iZotope's own StutterEdit. StutterEdit + Battery 4 to me is a more compelling toolset than Breaktweaker, because there's more variety, you can do things YOUR way, but the (often tedious) process of manipulation/tweaking is made easier & more accessible by StutterEdit. Hope that makes sense.

Yay! Thanks OA! You are rock! I've been wanting to read these! They're actually written by a friend of mine. I'll have to think hard about how I want to use that coupon too!

These two little figures (not the coffee cup which was bought at a past London Gaming Con) came through the mail today, and they look so adorable! And I was worried that with the lead up to the holiday, the OCR SS would be another delayed asset on top of everything else that had happened in the run-up to this event. Still, I am thankful they both came! Once I do some winter cleaning they'll have a nice, chilled home in my room. I had a look at the gift notes from the package and it also said something about download codes for some of their music. If they're anywhere, they weren't in the box; wonder if they ended up somewhere that I hadn't looked yet. Considering what the SS set out to do, I have a feeling there may be more that had gone under my radar, but we'll see. Nevertheless, thanks so much Garpocalypse!

The funny thing here is that the original SOUNDS LIKE WILL WROTE IT I'll say something briefly about the 70's vs 80's thing - Mr. Harby has a LOT of eighties in him. His future's so bright, he's gotta wear shades, if you know what I mean. So when he says he's gonna dial it back a decade, I'm skeptical. I'll say this much: I think he pulled it off on the GUITARS and the overall arrangement, but the drums still feel like they fell off the time machine and stayed in the decade of greed, to me. That's just my two cents and it really doesn't have that much bearing on the mix itself, but I'd actually love to hear Will do more stuff in the style of 70's bands - there are a lot of great ones, to be sure - so perhaps it's useful information nonetheless. Regardless of the 70s/80s thing, I DO think the drums sometimes sit a little too dead center and get overpowered by the guits, making them feel smaller than they should, but it only happens once or twice. Some wicked soloing and a big fuzzy guitar tone definitely bring out the Deep Purple. Fadeout ending, well... not gonna lie, I'm not an AUTOMATIC hater of all fadeout endings EVER (like some people), but in this case it didn't sit entirely right - would have ended this one with a bang, not a whimper. Nitpicks aside, love to hear Will covering an unmixed game and putting some seventies in his walk & his talk. This could have been a LITTLE better than it was, but it was still quite good, and a very fun ride! YES

Can't believe I didn't comment on this. I could see why someone wouldn't like the synths here, but I've always been a big fan of this track. There's nothing else like it on OCR. It makes great running music.